Bach: His Greatest Piano Solos

SKU: BR.EB-8654

ISBN 9790004184882. 7.5 x 10.5 inches.

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso. The Dutch music theorist, arranger, and musicologist Clemens Kemme closes the gap in this work by creating a new supplement, creatively and profoundly grounded and giving due respect to the composition, hence fulfilling that part of Mozart's vow after more than 200 years. This version is published by Breitkopf, complete with performance material, piano reduction, and study score. The edition is based on a meticulous re-examination of the sources for the completed sections and offersAddenda validated by authentic materialNew orchestration of the two Credo movements modeled on Handel and Bach as well as on Mozart's own music, e.g., the aria Se il padre perdei (Idomeneo)Reconstruction of the Sanctus for double chorus from secondary sources and models by Caldara and J. Chr. BachSections added in the score clear at first glance from their gray resolutionPreparation of the edition in close collaboration with Frans BruggenFirst performance of the version in 2006 by Bruggen with many subsequent performances, such as by the chorus of the Bavarian Radio under Peter Dijkstra (together with CD production) Kemme applies the same level of care and diligence shown in his 'Et incarnates est' and 'Osanna' reconstructions throughout the score, though these two movements truly set this edition apart from its predecessors. Careful awareness of eighteenth-century music theory and practices facilitate skillful and insightful interventions at every stage. The outcome is a highly refined and elegant take on the C-minor mass as Mozart left it. (Peter Keenan, Eighteenth-Century Music)Audio samples:10. Et incarnatus est: Claron McFadden (Soprano), Orchestra of the 18th Century, cond. Frans Bruggen (NOS Radio, 2006) 11. Sanctus: Chor des Bayerischen Rundfunks, Munchener Kammerorchester, cond. Peter Dijkstra (Sony, 2013)

This edition represents the culmination of some eleven or so years of extensive research. It brings an exhaustive understanding of eighteenth-century practices and Mozart's stylistic habits to bear on the unfathomable task of replicating Mozart's style without impinging upon the tone of the work. The rigour with which Clemens Kemme has produced this edition of Mozart's abandoned mass is nothing but exceptional. (Peter Keenan, Eighteenth-Century Music).

SKU: BR.EB-8051

The Missa Dei Patris is the first of three transmitted Missae ultimae. The piano vocal score is based on the score published by Reinhold Kubik in volume 93 of the series Das Erbe deutscher Musik, now available as PB 5556.

ISBN 9790004185070. 7.5 x 10.5 inches.

The Missa Dei Patris ZWV 19 was composed in 1740 and ranks among the later works of the Bohemian composer Jan Dismas Zelenka. It opens an incompletely transmitted cycle of six masses which the composer himself designated as Missae ultimae. The musical text of the present conductor's score is based on that of Volume 93 of the Denkmaler edition Das Erbe deutscher Musik . The new piano vocal score has been edited by the reputable expert Andreas Kohs. Zelenka's artistic personality, his biography and his compositional style are utterly distinctive. His style is highly experimental. Was Zelenka really one of the greatest composers of the 18th century, or only one of the most interesting? I think that he still has several surprises for us. (Schweizerische Musikzeitung) Zelenka's Masses - fine specimens of Baroque choral literature, some parts of which are set even more colorfully than in the corresponding compositions by Bach. (Die Welt)

The Missa Dei Patris is the first of three transmitted Missae ultimae.

SKU: BR.EB-8909

ISBN 9790004185759. 7.5 x 10.5 inches.

Prelude to Mastery The Missa Sanctissimae Trinitatis was probably composed within a few weeks in the late fall of 1736, an occasion for the composition is not recorded. With this mass, the first in a series of five late masses, Jan Dismas Zelenka entered upon the phase of his masterful late works. Its spacious conception abundant in numbers, stylistic and compositional wealth, as well as its vehement, musical expressive power clearly differentiate this work from Zelenka's previous masses. This new edition is based on the corresponding volume of the series Das Erbe deutscher Musik, from which the preface and critical report also derive. Have a look into the piano vocal score. Zelenka's artistic personality, his biography and his compositional style are utterly distinctive. His style is highly experimental. Was Zelenka really one of the greatest composers of the 18th century, or only one of the most interesting? I think that he still has several surprises for us. (Schweizerische Musikzeitung) Zelenka's Masses - fine specimens of Baroque choral literature, some parts of which are set even more colorfully than in the corresponding compositions by Bach. (Die Welt).

SKU: BR.PB-5596-07

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso.

Have. Mass; Classical. Study Score. 188 pages. Duration 52'. Breitkopf and Haertel #PB 5596-07. Published by Breitkopf and Haertel (BR.PB-5596-07).

ISBN 9790004214060. 6.5 x 9 inches.

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso. The Dutch music theorist, arranger, and musicologist Clemens Kemme closes the gap in this work by creating a new supplement, creatively and profoundly grounded and giving due respect to the composition, hence fulfilling that part of Mozart's vow after more than 200 years. This version is published by Breitkopf, complete with performance material, piano reduction, and study score. The edition is based on a meticulous re-examination of the sources for the completed sections and offersAddenda validated by authentic materialNew orchestration of the two Credo movements modeled on Handel and Bach as well as on Mozart's own music, e.g., the aria Se il padre perdei (Idomeneo)Reconstruction of the Sanctus for double chorus from secondary sources and models by Caldara and J. Chr. BachSections added in the score clear at first glance from their gray resolutionPreparation of the edition in close collaboration with Frans BruggenFirst performance of the version in 2006 by Bruggen with many subsequent performances, such as by the chorus of the Bavarian Radio under Peter Dijkstra (together with CD production) Kemme applies the same level of care and diligence shown in his 'Et incarnates est' and 'Osanna' reconstructions throughout the score, though these two movements truly set this edition apart from its predecessors. Careful awareness of eighteenth-century music theory and practices facilitate skillful and insightful interventions at every stage. The outcome is a highly refined and elegant take on the C-minor mass as Mozart left it. (Peter Keenan, Eighteenth-Century Music)Audio samples:10. Et incarnatus est: Claron McFadden (Soprano), Orchestra of the 18th Century, cond. Frans Bruggen (NOS Radio, 2006) 11. Sanctus: Chor des Bayerischen Rundfunks, Munchener Kammerorchester, cond. Peter Dijkstra (Sony, 2013)

This edition represents the culmination of some eleven or so years of extensive research. It brings an exhaustive understanding of eighteenth-century practices and Mozart's stylistic habits to bear on the unfathomable task of replicating Mozart's style without impinging upon the tone of the work. The rigour with which Clemens Kemme has produced this edition of Mozart's abandoned mass is nothing but exceptional. (Peter Keenan, Eighteenth-Century Music).

SKU: BR.OB-5562-16

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso.

Have. Mass; Classical. Part. 24 pages. Duration 52'. Breitkopf and Haertel #OB 5562-16. Published by Breitkopf and Haertel (BR.OB-5562-16).

ISBN 9790004342299. 10 x 12.5 inches.

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso. The Dutch music theorist, arranger, and musicologist Clemens Kemme closes the gap in this work by creating a new supplement, creatively and profoundly grounded and giving due respect to the composition, hence fulfilling that part of Mozart's vow after more than 200 years. This version is published by Breitkopf, complete with performance material, piano reduction, and study score. The edition is based on a meticulous re-examination of the sources for the completed sections and offersAddenda validated by authentic materialNew orchestration of the two Credo movements modeled on Handel and Bach as well as on Mozart's own music, e.g., the aria Se il padre perdei (Idomeneo)Reconstruction of the Sanctus for double chorus from secondary sources and models by Caldara and J. Chr. BachSections added in the score clear at first glance from their gray resolutionPreparation of the edition in close collaboration with Frans BruggenFirst performance of the version in 2006 by Bruggen with many subsequent performances, such as by the chorus of the Bavarian Radio under Peter Dijkstra (together with CD production) Kemme applies the same level of care and diligence shown in his 'Et incarnates est' and 'Osanna' reconstructions throughout the score, though these two movements truly set this edition apart from its predecessors. Careful awareness of eighteenth-century music theory and practices facilitate skillful and insightful interventions at every stage. The outcome is a highly refined and elegant take on the C-minor mass as Mozart left it. (Peter Keenan, Eighteenth-Century Music)Audio samples:10. Et incarnatus est: Claron McFadden (Soprano), Orchestra of the 18th Century, cond. Frans Bruggen (NOS Radio, 2006) 11. Sanctus: Chor des Bayerischen Rundfunks, Munchener Kammerorchester, cond. Peter Dijkstra (Sony, 2013)

This edition represents the culmination of some eleven or so years of extensive research. It brings an exhaustive understanding of eighteenth-century practices and Mozart's stylistic habits to bear on the unfathomable task of replicating Mozart's style without impinging upon the tone of the work. The rigour with which Clemens Kemme has produced this edition of Mozart's abandoned mass is nothing but exceptional. (Peter Keenan, Eighteenth-Century Music).

SKU: BR.OB-5562-19

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso.

Have. Mass; Classical. Part. 20 pages. Duration 52'. Breitkopf and Haertel #OB 5562-19. Published by Breitkopf and Haertel (BR.OB-5562-19).

ISBN 9790004342305. 10 x 12.5 inches.

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso. The Dutch music theorist, arranger, and musicologist Clemens Kemme closes the gap in this work by creating a new supplement, creatively and profoundly grounded and giving due respect to the composition, hence fulfilling that part of Mozart's vow after more than 200 years. This version is published by Breitkopf, complete with performance material, piano reduction, and study score. The edition is based on a meticulous re-examination of the sources for the completed sections and offersAddenda validated by authentic materialNew orchestration of the two Credo movements modeled on Handel and Bach as well as on Mozart's own music, e.g., the aria Se il padre perdei (Idomeneo)Reconstruction of the Sanctus for double chorus from secondary sources and models by Caldara and J. Chr. BachSections added in the score clear at first glance from their gray resolutionPreparation of the edition in close collaboration with Frans BruggenFirst performance of the version in 2006 by Bruggen with many subsequent performances, such as by the chorus of the Bavarian Radio under Peter Dijkstra (together with CD production) Kemme applies the same level of care and diligence shown in his 'Et incarnates est' and 'Osanna' reconstructions throughout the score, though these two movements truly set this edition apart from its predecessors. Careful awareness of eighteenth-century music theory and practices facilitate skillful and insightful interventions at every stage. The outcome is a highly refined and elegant take on the C-minor mass as Mozart left it. (Peter Keenan, Eighteenth-Century Music)Audio samples:10. Et incarnatus est: Claron McFadden (Soprano), Orchestra of the 18th Century, cond. Frans Bruggen (NOS Radio, 2006) 11. Sanctus: Chor des Bayerischen Rundfunks, Munchener Kammerorchester, cond. Peter Dijkstra (Sony, 2013)

This edition represents the culmination of some eleven or so years of extensive research. It brings an exhaustive understanding of eighteenth-century practices and Mozart's stylistic habits to bear on the unfathomable task of replicating Mozart's style without impinging upon the tone of the work. The rigour with which Clemens Kemme has produced this edition of Mozart's abandoned mass is nothing but exceptional. (Peter Keenan, Eighteenth-Century Music).

SKU: BR.OB-5562-11

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso.

Have. Mass; Classical. Part. 32 pages. Duration 52'. Breitkopf and Haertel #OB 5562-11. Published by Breitkopf and Haertel (BR.OB-5562-11).

ISBN 9790004343548. 10 x 12.5 inches.

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso. The Dutch music theorist, arranger, and musicologist Clemens Kemme closes the gap in this work by creating a new supplement, creatively and profoundly grounded and giving due respect to the composition, hence fulfilling that part of Mozart's vow after more than 200 years. This version is published by Breitkopf, complete with performance material, piano reduction, and study score. The edition is based on a meticulous re-examination of the sources for the completed sections and offersAddenda validated by authentic materialNew orchestration of the two Credo movements modeled on Handel and Bach as well as on Mozart's own music, e.g., the aria Se il padre perdei (Idomeneo)Reconstruction of the Sanctus for double chorus from secondary sources and models by Caldara and J. Chr. BachSections added in the score clear at first glance from their gray resolutionPreparation of the edition in close collaboration with Frans BruggenFirst performance of the version in 2006 by Bruggen with many subsequent performances, such as by the chorus of the Bavarian Radio under Peter Dijkstra (together with CD production) Kemme applies the same level of care and diligence shown in his 'Et incarnates est' and 'Osanna' reconstructions throughout the score, though these two movements truly set this edition apart from its predecessors. Careful awareness of eighteenth-century music theory and practices facilitate skillful and insightful interventions at every stage. The outcome is a highly refined and elegant take on the C-minor mass as Mozart left it. (Peter Keenan, Eighteenth-Century Music)Audio samples:10. Et incarnatus est: Claron McFadden (Soprano), Orchestra of the 18th Century, cond. Frans Bruggen (NOS Radio, 2006) 11. Sanctus: Chor des Bayerischen Rundfunks, Munchener Kammerorchester, cond. Peter Dijkstra (Sony, 2013)

This edition represents the culmination of some eleven or so years of extensive research. It brings an exhaustive understanding of eighteenth-century practices and Mozart's stylistic habits to bear on the unfathomable task of replicating Mozart's style without impinging upon the tone of the work. The rigour with which Clemens Kemme has produced this edition of Mozart's abandoned mass is nothing but exceptional. (Peter Keenan, Eighteenth-Century Music).

SKU: BR.PB-5596

ISBN 9790004214060. 6.5 x 9 inches.

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso. The Dutch music theorist, arranger, and musicologist Clemens Kemme closes the gap in this work by creating a new supplement, creatively and profoundly grounded and giving due respect to the composition, hence fulfilling that part of Mozart's vow after more than 200 years. This version is published by Breitkopf, complete with performance material, piano reduction, and study score. The edition is based on a meticulous re-examination of the sources for the completed sections and offersAddenda validated by authentic materialNew orchestration of the two Credo movements modeled on Handel and Bach as well as on Mozart's own music, e.g., the aria Se il padre perdei (Idomeneo)Reconstruction of the Sanctus for double chorus from secondary sources and models by Caldara and J. Chr. BachSections added in the score clear at first glance from their gray resolutionPreparation of the edition in close collaboration with Frans BruggenFirst performance of the version in 2006 by Bruggen with many subsequent performances, such as by the chorus of the Bavarian Radio under Peter Dijkstra (together with CD production) Kemme applies the same level of care and diligence shown in his 'Et incarnates est' and 'Osanna' reconstructions throughout the score, though these two movements truly set this edition apart from its predecessors. Careful awareness of eighteenth-century music theory and practices facilitate skillful and insightful interventions at every stage. The outcome is a highly refined and elegant take on the C-minor mass as Mozart left it. (Peter Keenan, Eighteenth-Century Music)Audio samples:10. Et incarnatus est: Claron McFadden (Soprano), Orchestra of the 18th Century, cond. Frans Bruggen (NOS Radio, 2006) 11. Sanctus: Chor des Bayerischen Rundfunks, Munchener Kammerorchester, cond. Peter Dijkstra (Sony, 2013)

This edition represents the culmination of some eleven or so years of extensive research. It brings an exhaustive understanding of eighteenth-century practices and Mozart's stylistic habits to bear on the unfathomable task of replicating Mozart's style without impinging upon the tone of the work. The rigour with which Clemens Kemme has produced this edition of Mozart's abandoned mass is nothing but exceptional. (Peter Keenan, Eighteenth-Century Music).

SKU: BR.OB-5565-11

ISBN 9790004342695. 12.5 x 10 inches.

Jan Dismas Zelenka's Missa Dei Filii is the second of three transmitted Missae ultimae, but consists, like other short masses of the 18th century, solely of a Kyrie and Gloria. Nevertheless, it is an extensive work, and the lengthy, multipartite Gloria is considered as the most impressive Gloria setting that Zelenka created in his over 20 masses. What remains to be answered is whether Zelenka had originally planned a complete mass composition.The full score and the piano vocal score are based on volume 100 of the Denkmaler edition Das Erbe deutscher Musik, in which the gaps in the musical text found in the autograph towards the end of the Gloria were cautiously supplemented. Zelenka's artistic personality, his biography and his compositional style are utterly distinctive. His style is highly experimental. Was Zelenka really one of the greatest composers of the 18th century, or only one of the most interesting? I think that he still has several surprises for us. (Schweizerische Musikzeitung)Zelenka's Masses - fine specimens of Baroque choral literature, some parts of which are set even more colorfully than in the corresponding compositions by Bach. (Die Welt).

SKU: BR.OB-5589-16

ISBN 9790004344200. 10 x 12.5 inches.

Prelude to Mastery The Missa Sanctissimae Trinitatis was probably composed within a few weeks in the late fall of 1736, an occasion for the composition is not recorded. With this mass, the first in a series of five late masses, Jan Dismas Zelenka entered upon the phase of his masterful late works. Its spacious conception abundant in numbers, stylistic and compositional wealth, as well as its vehement, musical expressive power clearly differentiate this work from Zelenka's previous masses. This new edition is based on the corresponding volume of the series Das Erbe deutscher Musik, from which the preface and critical report also derive.Have a look into the piano vocal score. Zelenka's artistic personality, his biography and his compositional style are utterly distinctive. His style is highly experimental. Was Zelenka really one of the greatest composers of the 18th century, or only one of the most interesting? I think that he still has several surprises for us. (Schweizerische Musikzeitung)Zelenka's Masses - fine specimens of Baroque choral literature, some parts of which are set even more colorfully than in the corresponding compositions by Bach. (Die Welt).

SKU: BR.OB-5589-12

ISBN 9790004344187. 10 x 12.5 inches.

Prelude to Mastery The Missa Sanctissimae Trinitatis was probably composed within a few weeks in the late fall of 1736, an occasion for the composition is not recorded. With this mass, the first in a series of five late masses, Jan Dismas Zelenka entered upon the phase of his masterful late works. Its spacious conception abundant in numbers, stylistic and compositional wealth, as well as its vehement, musical expressive power clearly differentiate this work from Zelenka's previous masses. This new edition is based on the corresponding volume of the series Das Erbe deutscher Musik, from which the preface and critical report also derive.Have a look into the piano vocal score. Zelenka's artistic personality, his biography and his compositional style are utterly distinctive. His style is highly experimental. Was Zelenka really one of the greatest composers of the 18th century, or only one of the most interesting? I think that he still has several surprises for us. (Schweizerische Musikzeitung)Zelenka's Masses - fine specimens of Baroque choral literature, some parts of which are set even more colorfully than in the corresponding compositions by Bach. (Die Welt).

SKU: BR.OB-5589-30

ISBN 9790004344248. 10 x 12.5 inches.

Prelude to Mastery The Missa Sanctissimae Trinitatis was probably composed within a few weeks in the late fall of 1736, an occasion for the composition is not recorded. With this mass, the first in a series of five late masses, Jan Dismas Zelenka entered upon the phase of his masterful late works. Its spacious conception abundant in numbers, stylistic and compositional wealth, as well as its vehement, musical expressive power clearly differentiate this work from Zelenka's previous masses. This new edition is based on the corresponding volume of the series Das Erbe deutscher Musik, from which the preface and critical report also derive.Have a look into the piano vocal score. Zelenka's artistic personality, his biography and his compositional style are utterly distinctive. His style is highly experimental. Was Zelenka really one of the greatest composers of the 18th century, or only one of the most interesting? I think that he still has several surprises for us. (Schweizerische Musikzeitung)Zelenka's Masses - fine specimens of Baroque choral literature, some parts of which are set even more colorfully than in the corresponding compositions by Bach. (Die Welt).

SKU: BR.OB-5556-23

ISBN 9790004342886. 10 x 12.5 inches.

The Missa Dei Patris ZWV 19 was composed in 1740 and ranks among the later works of the Bohemian composer Jan Dismas Zelenka. It opens an incompletely transmitted cycle of six masses which the composer himself designated as Missae ultimae.The musical text of the present conductor's score is based on that of Volume 93 of the Denkmaler edition Das Erbe deutscher Musik. The new piano vocal score has been edited by the reputable expert Andreas Kohs. Zelenka's artistic personality, his biography and his compositional style are utterly distinctive. His style is highly experimental. Was Zelenka really one of the greatest composers of the 18th century, or only one of the most interesting? I think that he still has several surprises for us. (Schweizerische Musikzeitung)Zelenka's Masses - fine specimens of Baroque choral literature, some parts of which are set even more colorfully than in the corresponding compositions by Bach. (Die Welt).